Doctor of Musical Arts (DMA)
First Committee Member
Second Committee Member
Third Committee Member
Fourth Committee Member
Fifth Committee Member
Number of Pages
This document presents a study on a musical fusion that I term “jazz/hip hop.” The study presents a historical overview of jazz/hip hop origins beginning with 1960s beat poets to jazz/hip hop artists emerging in the early 2000s. Modeled after Phillip Tagg’s and John Fiske’s semiotic methodology and William C. Banfield’s African American Cultural Theory and Heritage Model, the methodology defines the musical and cultural aesthetics of jazz/hip hop. Interviews from jazz/hip hop artists are presented; justifying the use of hip-hop aesthetics and countering the argument that commercial elements are added for mainstream recognition. I examine that samples musically interact with live rhythm section performers, giving transcriptions to aid the development of relevant drum set and bass performance techniques. Finally, the document serves as an introduction to jazz hip hop for musicians and scholars alike.
Hip Hop; Jazz; Rap; Samples
African American Studies | American Studies | Music | Other Music | Race and Ethnicity
University of Nevada, Las Vegas
Redfield, Molly Kaylynn, "Jazz Sampling Hip Hop: A View of the Expanded Rhythm Section and the Musical Interactions Between Musicians and Machines" (2022). UNLV Theses, Dissertations, Professional Papers, and Capstones. 4456.
IN COPYRIGHT. For more information about this rights statement, please visit http://rightsstatements.org/vocab/InC/1.0/